Volume 55

The film’s creators, Vasarhelyi and Chin, came in with some direction in mind and thanks to our team’s strong rapport with the duo, we set the bones of the film’s design structure early, and evolved from there. Much of the film’s focus is on the geography of the national parks at the center of the film, so we dug in there first focusing on aesthetics and accuracy. Initially very clean and precise, the maps evolved along with the film’s design and as we added more textural moments elsewhere in the film, we layered texture into the maps as well.

Technically, the biggest challenge the maps presented was designing for the vast expanse of geography we wanted to display, as well as the transitions from 2D to 3D for when we really wanted to punch into detailed sections of the park. BigStar artist Chialung Liu managed this aspect for us, resulting in a really tight design that manages to make the complex map transitions ultra-smooth and able to show off the finer topographic details that really enhance the storytelling.

In the film, a key incident in the story centers around Doug Tompkins’ untimely death in a kayaking accident. This scene was one of the first elements we explored, ultimately landing on a painted depiction of the accident to visualize the story. The WILD LIFE team provided re-cre footage and stock that BigStar artists, Ivan Viaranchyk and Tifé Odomosu could illustrate and add painterly textures to. Using EB Synth, we incorporated texture and motion to infuse the storytelling with sensitivity and emotion as well as explaining the circumstances of the accident as necessary to push the film’s narrative forward.

That textured approach carries through the film, both in the maps as previously mentioned and other artistic depictions in the film. One such depiction has Kris carving her name alongside Doug’s into his coffin as they transport it to its final resting place, a visual for which we shot the re-cre footage for in the BGSTR studio with WILD LIFE DP, Clair Popkin and his team. You can also see the texture carry through to the typographic elements in the film, giving the credits and other written elements the same emotional through-line throughout the film and enhancing the emotional gravitas of the story.

Thank you to our partners at National Geographic and especially to directors Chai Vasarhelyi and Jimmy Chin, with whom we’ve worked before on films like the Academy Award winning documentary Free Solo, for letting us collaborate on such a beautiful film. WILD LIFE is in theaters now and will begin streaming on Disney+ on May 26.

Our design is inspired by the celebratory tone of the series where host John Leguizamo road trips across the country to bring viewers inside America's thriving Latino communities— all with his characteristic edge, energy and wit. ⁠

We stayed away from any played out tropes and instead focused on incorporating color and lighting to bring a specific vibrancy into our design. Throughout the title sequence, we used minor type elements and split screen cuts to find an avenue that was bold but still refined. Of course, having John Leguizamo to play off of infused charm throughout the sequence and informed the elements we designed for the rest of the series.

The six-part series, “Leguizamo Does America,” from NBC News Studios is airing now on MSNBC and streaming on Peacock. ⁠

After graduating from Nottingham Trent University, Ross spent five years at Sky TV before transitioning to Al Jazeera in a role that included traveling the world– Qatar, the UK, Doha, Kuala Lumpur and Washington DC before landing in New York for a more permanent stint to launch Al Jazeera America. While at Al Jazeera, Ross worked with BigStar to design and produce the on-air brand ‘Turning Point’, leading to a relationship with BigStar founder Josh Norton, and then executive producer, Carson Hood.

The trio kept in touch, and it was in 2017 over a couple of Negronis at the Hotel Americano that Ross decided to take the leap and come work for BigStar as a hands on designer and art director, bringing his broadcast branding expertise and deft graphic skills to bare. In 2017, Ross joined the BigStar team permanently in the role of Art Director. His initial focus on the finer details of projects, particularly nonfiction content, has evolved over time. As he’s climbed the ranks internally, his purview has shifted to include more brand work and promos, but his hands-on approach to working has remained the same.

The variety of projects and BigStar’s quest to always level up its craft and continue evolving has kept Ross’ creative appetite well-sustained during his tenure at the company. In his role as Creative Director, Ross is able to focus purely on creating quality design and do a lot of hands-on work.

The variety of projects and BigStar’s quest to always level up its craft and continue evolving has kept Ross’ creative appetite well-sustained during his tenure at the company. In his role as Creative Director, Ross is able to focus purely on creating quality design and do a lot of hands-on work.

As BGSTR VP/Head of Production Virgil Conklin explains it, “Ross is an integral part of the BGSTR design pipeline. He creates some of the most impactful and visually stunning original designs within our industry. His eye for design and insight are irreplaceable.”